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Neon yellow vinyl, limited to 350 copies. Three years after appearing on Doom Sessions Vol 5 split, High Reeper are back with their most ambitious album yet,"Renewed By Death". A true heavy metal assault of eight tracks that take you on a journey to the darkest depths and leave you there to rot. Featuring monolithic riffs that pummel you from the opening of the album to the close, guitar solos reminiscent of George Lynch and Dave Navarro, and powerful vocals that deliver a knockout blow. This album showcases the band's desire to keep evolving and exploring new sounds and ideas. "Renewed By Death" was produced, recorded, mixed and mastered by Shane Trimble at the band's brand new studio Sletner Sound, in Wilmington Delaware with Justin Di Pinto also engineering. The cover was done by Solomacello and photos of the band were done by Drew Wiedemann.

Piano Bar is the sixth studio album by French pop and chanson singer Patricia Kaas. It is the first album on which Kaas sings partly in English. The album includes covers and interpretations of Jacques Brel, Yves Montand and Gilbert Bécaud. It became one of Kaas' most successful albums in Europe, selling over half a million copies. Piano Bar is a limited edition of 1000 numbered copies on turquoise coloured vinyl.

Zwei Jahre nach seinem hochgelobten Cover-Album "Taped Heart Sounds" schlägt Jesper Munk ein neues Kapitel auf: Mit wohlgereiften Eigenkompositionen kehrt er jetzt zur Freude aller treuen Wegbegleiter:innen endlich auch wieder als Komponist und Texter zurück. Sein neues Album klingt melancholisch und swingend. Moderner Neo-Soul, vom Jazz geküsst, dazu Chanson, R"n"B, bluesy Crooner-Balladen und zarter Indie-Pop bis hin zum Slow Wave, sind die Eckpfeiler, die "Yesterdaze" wohl am besten beschreiben.

Wie war das noch gleich? Die dritte Scheibe einer Band ist das ,Make-It or Break-It"-Album? Kontrolle aus Solingen und Düsseldorf könnte das nicht egaler sein. Ihr kalter, 80er- beeinflusster Wave-/Post-Punk-Sound wurde schon beim 2017er-Debüt ,Egal" begeistert aufgenommen und mit ,Zwei" (2021) verfeinert. Und so gab es für das Trio nie einen Anlass für eine grundlegende Sound-Änderung, eine Umstellung der Herangehensweise oder ein Schielen auf Trends. Das genau beweist ,Grau", Kontrolle-Album #3. Denn wenn das dritte Album von KONTROLLE etwas unterstreicht, dann, dass die Band noch kompromissloser zu Werke geht. Ihre Hardcore- und Punkwurzeln sind hier deutlicher denn je zu erkennen. Die breite Soundwand, die das Trio um Gitarrist und Sample-Meister Carsten Wagner, Sänger und Bassist Daniel Brangs und Drummer Andrew Collar kreiert und erneut in der Tonmeisterei bei Role Wiegner in Oldenburg auf Band gebannt hat, bestätigt diese Vermutung. Aber da sind ja auch noch die prägenden, markanten dunklen Elemente, die als Gegenpol eine sphärische Dynamik schaffen, die zwischen hypnotisch und eruptiv pendelt. Und das funktioniert nicht nur vor der Bühne, sondern auch auf der Tanzfläche. Die deutschen Texte von Sänger Daniel behandeln aktuelle Themen und Sorgen in gewohnt KONTROLLE-typischen Passagen, die oft mit einem Augenzwinkern auch politisch Stellung beziehen. Bisweilen spielen sogar Alltags- und Haushaltsgegenstände nicht zu unterschätzende Rollen in der ,kontrollierten" Beschreibung der deutschen Realität. Die Covergestaltung lag erneut in der Hand von Schlagzeuger Andrew, der diesmal neue Wege beschritt: Hunderte selbst geschossene Fotos bildeten den Grundstock für eine Collage von original ca. 1,5 m x 2 m. Alle Bilder wurden in mühevoller Kleinarbeit ausgeschnitten und zusammengestellt. Das Gatefoldcover ist somit ein Kunstwerk für sich und eröffnet mit jedem Blick neue Details. Erscheinen wird die LP am 27.09.2024, wieder auf dem für handgemachte Releases geschätzten Kölner Label Holy Goat Records. Zwei digitale Single-Releases und eine limitierte 7"- Auskopplung kommen im Vorfeld. Und natürlich sind KONTROLLE dann auch wieder live im Einsatz.

Wie war das noch gleich? Die dritte Scheibe einer Band ist das ,Make-It or Break-It"-Album? Kontrolle aus Solingen und Düsseldorf könnte das nicht egaler sein. Ihr kalter, 80er- beeinflusster Wave-/Post-Punk-Sound wurde schon beim 2017er-Debüt ,Egal" begeistert aufgenommen und mit ,Zwei" (2021) verfeinert. Und so gab es für das Trio nie einen Anlass für eine grundlegende Sound-Änderung, eine Umstellung der Herangehensweise oder ein Schielen auf Trends. Das genau beweist ,Grau", Kontrolle-Album #3. Denn wenn das dritte Album von KONTROLLE etwas unterstreicht, dann, dass die Band noch kompromissloser zu Werke geht. Ihre Hardcore- und Punkwurzeln sind hier deutlicher denn je zu erkennen. Die breite Soundwand, die das Trio um Gitarrist und Sample-Meister Carsten Wagner, Sänger und Bassist Daniel Brangs und Drummer Andrew Collar kreiert und erneut in der Tonmeisterei bei Role Wiegner in Oldenburg auf Band gebannt hat, bestätigt diese Vermutung. Aber da sind ja auch noch die prägenden, markanten dunklen Elemente, die als Gegenpol eine sphärische Dynamik schaffen, die zwischen hypnotisch und eruptiv pendelt. Und das funktioniert nicht nur vor der Bühne, sondern auch auf der Tanzfläche. Die deutschen Texte von Sänger Daniel behandeln aktuelle Themen und Sorgen in gewohnt KONTROLLE-typischen Passagen, die oft mit einem Augenzwinkern auch politisch Stellung beziehen. Bisweilen spielen sogar Alltags- und Haushaltsgegenstände nicht zu unterschätzende Rollen in der ,kontrollierten" Beschreibung der deutschen Realität. Die Covergestaltung lag erneut in der Hand von Schlagzeuger Andrew, der diesmal neue Wege beschritt: Hunderte selbst geschossene Fotos bildeten den Grundstock für eine Collage von original ca. 1,5 m x 2 m. Alle Bilder wurden in mühevoller Kleinarbeit ausgeschnitten und zusammengestellt. Das Gatefoldcover ist somit ein Kunstwerk für sich und eröffnet mit jedem Blick neue Details. Erscheinen wird die LP am 27.09.2024, wieder auf dem für handgemachte Releases geschätzten Kölner Label Holy Goat Records. Zwei digitale Single-Releases und eine limitierte 7"- Auskopplung kommen im Vorfeld. Und natürlich sind KONTROLLE dann auch wieder live im Einsatz.

Mit seinem neuen Projekt begibt sich Star-Pianist Daniil Trifonov auf eine ganz persönliche musikalische
Reise über die Kontinente Amerikas. Das erste von insgesamt zwei Alben, My American Story – North,
beginnt in den USA. Dort verbrachte Trifonov fast die Hälfte seines Lebens. Das vielfältige Repertoire
des Albums »hat mir den Zugang zu vielen Perspektiven, Stilen, Kulturen, Orten, Menschen, Geschichten
und Ausdrucksformen eröffnet, die mein Amerika-Erlebnis geformt und geprägt haben«, sagt Trifonov.
Die ausgewählten Werke reichen von Jazz und Swing zu Minimal Music und populärer Filmmusik. Zwei
Klavierkonzerte bilden den Rahmen des Album: Gershwin’s beliebtes Konzert in F sowie die Weltpremiere
eines von Mason Bates eigens für Trifonov komponierten Konzerts. Beide werden vom Philadelphia Orchestra unter Yannick Nézet-Séguin begleitet. Zusätzlich enthält das Album Solowerke von John Adams,
Aaron Copland und John Corigliano sowie John Cages legendäres 4’33. Die übrigen Werke ehren den Jazz
am Klavier - Trifonovs eigene Transkription von Art Tatums “I Cover the Waterfront“ und Bill Evans’
Version von “When I Fall in Love“ - sowie die Soundtracks Hollywoods, hier in Auszügen aus Filmmusiken
zu American Beauty und The Firm (Die Firma) vertreten.

Die limitierte 25-Jahre-Jubiläums-Edition des AFI-Kultklassikers mit vier Tracks, gepresst auf pinkfarbenem
Vinyl und in einem leuchtenden Ink-Jacket. Neben einer beeindruckenden Coverversion von „Halloween“
von The Misfits enthält die Sammlung „The Boy Who Destroyed the World“, das später zu einem Kultstück
der Band werden sollte, sowie die Singles „Totalimmortal“ und „Fall Children“. Das Set enthält ein 10ff x
20ff großes, schwarzes, gestanztes Sargposter.

Mötley Crüe werden ihre neue EP „Cancelled“ veröffentlichen!
Die EP markiert die erste neue Musik der Band seit 2019 und ihr Debüt bei Label Big Machine Rock. Die
Platte enthält den aktuellen Top 5 Rock Radio Hit „Dogs of War“, ihre neue Single, eine Coverversion von
„Fight For Your Right“ von den Beastie Boys und den Titeltrack „Cancelled“.
Mötley Crüe sagten: „It was really great getting in the studio and working on some tracks together. What
started out as a couple demo ideas turned into this EP produced by Bob Rock. We look forward to getting
back into the studio again soon and writing more new music, as well.”
Mötley Crüe melden sich mit ”Dogs of War” zurück, ihrer ersten Single seit 2015!
Seit über 40 Jahren sind Vince Neil (voc), Nikki Sixx (bass), Tommy Lee (drums) und Mick Mars (guitar) als Band aktiv und on the road mit bahnbrechenden Show Highlights wie Tommy Lee‘s Achterbahn
Schlagzeugperformance oder Nikki Sixx’s Auftritte mit seinem flammenwerfenden Bass.
Mötley Crüe hat über 5 Milliarden Streams auf digitalen Plattformen erreicht und hat über 8 Millionen
Follower in den sozialen Medien. Sie haben weltweit über 100 Millionen Alben verkauft, 7 Platin- und
Multi-Platin-Alben in den USA und 3 GRAMMY®-Nominierungen erhalten. Auch ihre Biografie „The Dirt
– Confessions of the Worlds Most Notorious Rock Band” wurde 2001 ein New York Times und weltweiter
Bestseller und erschien als Biopic 2019 auf Netflix.

“NO MORE HOLLYWOOD ENDINGS” WILL BLOW YOU AWAY! The eleven featured songs were recorded by keyboardist Janne Björkroth, Viktor Gullichsen and guitarist Joona Björkroth at JKB Studio; the record was also produced and mixed by Janne. Janne stated about »No More Hollywood Endings«, "The heavy songs are heavier, pop-delights brighter, rock vibes stronger, and sounds richer than before. The emotional scale is wider, and everything is bigger." Last but not least, the cover artwork was created by Jan Yrlund (KORPIKLAANI, MANOWAR etc.), who already took care of the »Bringer Of Pain« design.

METAL HAMMER - 8/10 review “Mangled post-Bathory riffs and Marzia’s blasphemous bark collide with the darkly serene shimmer of wilfully corrupted shoegaze and nobody escapes with their San(ci)ity intact. This is a profoundly heavy work, yet laced with elegant moments of restraint…A dark star is born.”

Debut full length for one woman band Marthe on Southern Lord.

True Valkyrian metal inspired heavy riffing in a dark atmosphere of feasting ravens over a thunderous battleground.

The war cry belongs to a distorted horde of crust punk and black metal venture.

The dust settles over the power of Bathory, the melancholy of Tiamat and the stench of Amebix.

Antifascist. Feminist. Misanthropic.

Includes cover of Siouxsie and the Banshees ‘Sin In my Heart’

With the debut album "Mechanical Spin Phenomena", MNEMIC introduced themselves to the metal world impressively: Their music, made of heavy Thrash riffs, Progressive elements, modern synthesizers and electronic samples created both a hard and spacy atmosphere – therefore the band decided to describe their sound as Fusion Future Metal. Crushing songs like 'Ghost' and 'Liquid' got stuck in your head so easily and the comparisons to bands like FEAR FACTORY, MESHUGGAH or STRAPPING YOUNG LAD were drawn soon. But MNEMIC are not a simple copy of those acts – they are a band with their own ideas and self-contained style. "The Audio Injected Soul" shows MNEMIC grown and more mature. Less complex than "Mechanical Spin Phenomena", the band worked a lot with melodies and set a high value on creating catchy refrains. The result is amazing songs like 'Dreamstate Emergency', 'Door 2.12' or 'Deathbox' groove like hell and unify brutality with melody. Finalized by a dynamic cover version of DURAN DURAN's 'Wild Boys', "The Audio Injected Soul" is all in all a perfect package of ten punishing Modern Metal songs that will catapult MNEMIC to the major league of the genre! Tue Madsen, who again took care of the producing in his Antfarm Studios in Aarhus/Denmark, additionally provided the album with a clear and explosive sound that displays the effect of each track fully.

1980 in Las Vegas gegründet, zog es M.I.A. 1981 nach Orange County wo sie begannen Shows im berüchtigten Cuckoo's Nest zu spielen. Sie veröffentlichten erstmals zusammen mit Genocide das mittlerweile klassische Split-Album Last Rites For... auf Smoke Seven in 1982. Nach einer kurzen Pause kam die Band 1983 wieder zusammen und nahm im November in den Greencarton Studios ein Demo mit sechs Songs auf. Sie wurden schnell für ihre energiegeladenen Live-Shows bekannt, bei denen sie schnellen, gitarrenbetonten Hardcore mit der einzigartigen melodischen Stimme von Sänger Mike Conley und dem typischen südkalifornischen Punk-Sound verbanden. Nach einem Auftritt mit den Dead Kennedys bot Jello Biafra an, ihr nächstes Album Murder In a Foreign Place im Sommer 1984 auf seinem Label Alternative Tentacles zu veröffentlichen. Später veröffentlichte M.I.A. noch Notes From the Underground (National Trust 1985) und After the Fact (Flipside 1987). Anlässlich des 40-jährigen Jubiläums des Albums hat sich Modern City Records mit Alternative Tentacles zusammengetan, um ,Murder In a Foreign Place" im Jahr 2024 wieder auf den Markt zu bringen. 19 Tracks umfasst das Reissue, welches neben dem Originalalbum auch zwei Studio-Out-Takes und die kompletten Demos von Greencarton enthält. Der unveröffentlichte Track Help Me Up erscheint hier zum ersten Mal überhaupt! Rotes Vinyl mit roter Schrift auf dem Cover-Artwork! Inklusive 24seitigem Booklet und Insert.

1980 in Las Vegas gegründet, zog es M.I.A. 1981 nach Orange County wo sie begannen Shows im berüchtigten Cuckoo's Nest zu spielen. Sie veröffentlichten erstmals zusammen mit Genocide das mittlerweile klassische Split-Album Last Rites For... auf Smoke Seven in 1982. Nach einer kurzen Pause kam die Band 1983 wieder zusammen und nahm im November in den Greencarton Studios ein Demo mit sechs Songs auf. Sie wurden schnell für ihre energiegeladenen Live-Shows bekannt, bei denen sie schnellen, gitarrenbetonten Hardcore mit der einzigartigen melodischen Stimme von Sänger Mike Conley und dem typischen südkalifornischen Punk-Sound verbanden. Nach einem Auftritt mit den Dead Kennedys bot Jello Biafra an, ihr nächstes Album Murder In a Foreign Place im Sommer 1984 auf seinem Label Alternative Tentacles zu veröffentlichen. Später veröffentlichte M.I.A. noch Notes From the Underground (National Trust 1985) und After the Fact (Flipside 1987). Anlässlich des 40-jährigen Jubiläums des Albums hat sich Modern City Records mit Alternative Tentacles zusammengetan, um ,Murder In a Foreign Place" im Jahr 2024 wieder auf den Markt zu bringen. 19 Tracks umfasst das Reissue, welches neben dem Originalalbum auch zwei Studio-Out-Takes und die kompletten Demos von Greencarton enthält. Der unveröffentlichte Track Help Me Up erscheint hier zum ersten Mal überhaupt! Limitiertes blaues Vinyl mit blauer Schrift auf Cover-Artwork plus 24seitigem Booklet!

1980 in Las Vegas gegründet, zog es M.I.A. 1981 nach Orange County wo sie begannen Shows im berüchtigten Cuckoo's Nest zu spielen. Sie veröffentlichten erstmals zusammen mit Genocide das mittlerweile klassische Split-Album Last Rites For... auf Smoke Seven in 1982. Nach einer kurzen Pause kam die Band 1983 wieder zusammen und nahm im November in den Greencarton Studios ein Demo mit sechs Songs auf. Sie wurden schnell für ihre energiegeladenen Live-Shows bekannt, bei denen sie schnellen, gitarrenbetonten Hardcore mit der einzigartigen melodischen Stimme von Sänger Mike Conley und dem typischen südkalifornischen Punk-Sound verbanden. Nach einem Auftritt mit den Dead Kennedys bot Jello Biafra an, ihr nächstes Album Murder In a Foreign Place im Sommer 1984 auf seinem Label Alternative Tentacles zu veröffentlichen. Später veröffentlichte M.I.A. noch Notes From the Underground (National Trust 1985) und After the Fact (Flipside 1987). Anlässlich des 40-jährigen Jubiläums des Albums hat sich Modern City Records mit Alternative Tentacles zusammengetan, um ,Murder In a Foreign Place" im Jahr 2024 wieder auf den Markt zu bringen. 19 Tracks umfasst das Reissue, welches neben dem Originalalbum auch zwei Studio-Out-Takes und die kompletten Demos von Greencarton enthält. Der unveröffentlichte Track Help Me Up erscheint hier zum ersten Mal überhaupt! Limitiertes blaues Vinyl mit blauer Schrift auf Cover-Artwork plus 24seitigem Booklet!

The 180g vinyl is available in two colors: Classic Black and a Limited Burgundy Edition, with the outer cover hand-colored and numbered (100 copies) by Moo Latte himself.

Mellomaniac, the seventh full-length album by Moo Latte, is different. These 28 compositions, written and recorded in 2021/22, were initially created for Moo's personal use, serving as a life soundtrack during many weeks and months spent away from home while touring with the band. Most of the tracks were recorded in hotel rooms and even backstage areas, fully embracing the lo-fi mindset and philsophy. Comparing to his previous works, this one holds a special significance and it's the most personal of them all.

What's Mellomaniac? The wordplay combines "melomania"—defined as an excessive and abnormal attraction to music—with the "mello" vibe that reflects both Moo Latte's personality and the nature of the music itself. The album leans toward a mellow sound, designed more for an intimate, individual listening experience where each spin of the record leads to new discoveries.

Why is this album different? Each of these pieces was created without any predetermined goal, which is why the tracklist is so eclectic—much like Moo Latte's palette of inspirations. These influences stretch back to when he was just four years old, singing in front of others for the first time or listening to his sister practice the violin. These early memories and instincts are blended with more deliberate musical choices, refined over two decades of music education. Each song is dedicated to a person, place, or situation that shaped him both as a musician and as an individual, reflecting the journey he has been on so far.

After six previous albums rooted in beat-making culture, this is the first one that is 95% drumless and free from sampling of any kind. Although the stories in these songs are told without words, Moo Latte incorporates his voice alongside a wide array of instruments, using it more expressively than ever before. The album's sonic quality is both raw and lush. The grit comes from the way it was recorded, using gear and microphones that, while not top-tier, were simply what was available. Everything was mixed in Moo Latte's bedroom and mastered on analog tape, resulting in a personal, intimate, and dynamic listening experience.

The 180g vinyl is available in two colors: Classic Black and a Limited Burgundy Edition, with the outer cover hand-colored and numbered (100 copies) by Moo Latte himself.

Mellomaniac, the seventh full-length album by Moo Latte, is different. These 28 compositions, written and recorded in 2021/22, were initially created for Moo's personal use, serving as a life soundtrack during many weeks and months spent away from home while touring with the band. Most of the tracks were recorded in hotel rooms and even backstage areas, fully embracing the lo-fi mindset and philsophy. Comparing to his previous works, this one holds a special significance and it's the most personal of them all.

What's Mellomaniac? The wordplay combines "melomania"—defined as an excessive and abnormal attraction to music—with the "mello" vibe that reflects both Moo Latte's personality and the nature of the music itself. The album leans toward a mellow sound, designed more for an intimate, individual listening experience where each spin of the record leads to new discoveries.

Why is this album different? Each of these pieces was created without any predetermined goal, which is why the tracklist is so eclectic—much like Moo Latte's palette of inspirations. These influences stretch back to when he was just four years old, singing in front of others for the first time or listening to his sister practice the violin. These early memories and instincts are blended with more deliberate musical choices, refined over two decades of music education. Each song is dedicated to a person, place, or situation that shaped him both as a musician and as an individual, reflecting the journey he has been on so far.

After six previous albums rooted in beat-making culture, this is the first one that is 95% drumless and free from sampling of any kind. Although the stories in these songs are told without words, Moo Latte incorporates his voice alongside a wide array of instruments, using it more expressively than ever before. The album's sonic quality is both raw and lush. The grit comes from the way it was recorded, using gear and microphones that, while not top-tier, were simply what was available. Everything was mixed in Moo Latte's bedroom and mastered on analog tape, resulting in a personal, intimate, and dynamic listening experience.

Parallel zum digitalen Release veröffentlicht die Schweizer Künstlerin LEILA ihre zweite EP "Generation" zusammen mit der ersten "Burnout" EP (2023) als Doppel-EP erstmals auf Vinyl. Auf inhaltlicher Ebene gehen "Burnout" und "Generation" sowieso Hand in Hand, kreist Leila lyrisch doch auf beiden Projekten um die grossen Themen, die ihre Altersgruppe im Jetzt beschäftigen. Es geht um Einflusslosigkeit und Lethargie, um schnelles Erwachsenwerden und zähes inneres Ausbrennen, um Leistungs-, Entscheidungs- und Performance-Druck, um die verzweifelte Suche nach dem eigenen Platz in einer wirren Welt.

LEILAs zweite, millionfach gestreamte Single "Gun To My Head" ging im gesamten deutschsprachigen Raum viral und führte zu einem Signing beim Berliner Indielabel Grönland Records. Dort erschien die "Burnout" EP mit allen sieben bisherigen Singles, die LEILA prompt auf die "Amazon Music - Newcomer To Watch 2024" Liste beförderte. Nach dem Miley Cyrus-Cover "Mother's Daughter" und Supportgigs mit Kaffkiez begann der Zyklus der neuen "Generation" EP.

LEILA ist eine DIY-Allround-Künstlerin, deren Dramaturgie vom Spiel mit Kontrasten lebt, von erfrischender Ungeplantheit, Brüchen und antizyklischer Roughness, von spitzen Blues-Cords im pixeligen Bedroom-Pop-Gewand, dem Clash zwischen kraftvoller Klarheit und verwaschener Fluidität. Ihre englischsprachigen Texte performt sie mit einem subtil trotzigen Akzent, der manchmal an Tove Lo, Fever Ray oder Dolores O'Riordan erinnert. Die aus Bern stammende Mehrsprachlerin ist binnen weniger Monate ohne grosse Starposen zum Sprachrohr einer bikulturellen, diversen, gefühlsbewussten Generation junger Menschen geworden. Ihre Songs verbinden Pop-Appeal mit radikaler Naivität und einer eigensinnigen Ästhetik der Unordnung. Zwischen zarten Gitarrenballaden, sehnsuchtsvollen Electronica-Flächen und wütenden Garage-House-Passagen entfaltet LEILA ihre künstlerische Perfektion meist in den Momenten absoluter Nahbarkeit. LEILA ist bis heute bekennender Ultra des Nuller- und Zehnerjahre-Pop (Rihanna, Justin Bieber, Lady Gaga, Miley Cyrus) und sich keineswegs zu cool, diese Obsession auch zum Ausdruck zu bringen. Sie hat durchaus emotional reagiert, als ihr Paris Hilton auf TikTok zu folgen begann oder Billie Eilish sie kürzlich zu ihren engen Instagram-Freund*innen hinzufügte.

Debut album from Los Angeles duo Los Yesterdays, Sweet Soul music meets Mexican Folklorico "Sweet soul music also known as lowrider oldies on the West Coast, rolas and souldies are typically early 60s-style tunes that emphasize vocal harmonies. Most songs are slow-to-midtempo, many are ballads, and the sub-genre is generally stripped down compared to the highly produced Motown hits of the time....there is a generations-long appreciation for sweet soul music among California’s Latino communities. Eastern Los Angeles teens.... helped foster a love of sweet soul in the early 60s by covering soulful ballads by artists like James Brown... Those sounds... were kept alive by record collectors and people who spent evenings cruising along East Los boulevards." BILLBOARD // Los Yesterdays are a Chicano soul band from Los Angeles based around the creative collaboration between Gabriel Rowland and Victor Benavides. They began working together when Rowland a drummer by trade, then creaky and exhausted from waking up at dawn to work construction decided to channel those struggles into song. He contacted Benavides, a former bandmate of Rowland’s deceased brother, to record the soul ballads that Southland Chicanos call “oldies.” Los Yesterdays filter love-struck R&B crooning through guitar-strumming Mexican balladeering; the result is something that sounds like the Los Angeles of yesterday and today the indelible, immovable Los Angeles of cruising Whittier Boulevard, of cold drinks on the porch on blazing summer nights, of watching a blue-orange toxic sunset and wondering if they are thinking about you. Los Angeles changes; Los Angeles stays the same. Los Yesterdays have changed, outgrown their childhood barrios and the bands of their early 20s and their private garage hermitude; Los Yesterdays are Frozen In Time. Tracks: A1. Nobody’s Clown A2. Frozen In Time A3. Something Happened A4. I Can’t Feel A5. Brown Boy B1. Last Request B2. I Want You To Stay B3. But You Did B4. Name On Me B5. Love Is A Game For Fools

For almost 10 years and with 3 albums on the clock, Voilaaa has established itself with a unique style, reviving African rhythms and atmospheres in the colors of Disco dancefloors and Funky arrangements, all often accompanied by lyrics and vocals tinged with humor and commitment.

As a result, the Afro-Tropical adventure launched by producer Bruno “Patchworks” Hovart today leaves behind a host of hits (“On te l’avait dit”, “Spies Are Watching Me”, “Ben Bene La”, …), as well as trips around the globe and as many gigs and festivals, but also and above all numerous and lasting collaborations with singers like Lass, Pat Kalla, Sir Jean, Ayuune Sule, Rama Traore, or Fouley Badiaga, the latter which also marks its great return on two tracks of the album.

With C'est tout, Voilaaa returns to us without revisiting this unstoppable recipe, while seasoning things with a more Latin and Caribbean inspiration, brought back in Bruno Hovart's suitcases after several stays in South America in recent years. Introduced last spring with the release of a first maxi single, this new opus once again delivers hit after hit.

As on the already famous “Faché” alongside Pat Kalla, which displays all the classic assets of Voilaaa’s sound: punchy Afrobeat horns, woozy chords and crunchy clavinet licks rising above a low-slung, hypnotic, dub disco-meets-Afro-boogie groove. The rest of the album is not to be outdone with a total of 14 wild tracks entirely composed by an unstoppable Bruno Hovart.

Two exceptions confirm the rule, a beautiful interpretation of the song "Love and Death" by Ebo Taylor, where Voilaaa's Afro skills perfectly melt with Angolan and Brazilian vapors, beamed by Joao Selva's lovely vocals; as well as a magical cover of “Too Young to Die”, transporting Jamiroquai to the crossroads of Africa and the Antilles, carried by the superb vocal performance of singer Olivya (Dowdelin) for a first collaboration.

Well, Voilaaa is back as its best, “that’s all” (C’est tout).

A joint collaboration between long standing L.A garage label In The Red, Universal Music Australia and spearheaded by Feel Presents and Saints founder Ed Kuepper, the deluxe edition of (I’m) Stranded will feature 4 x vinyl long players covering all the band’s studio and live recordings from 1976 thru 1977 and includes; • The iconic debut album remastered for vinyl for the first time in over 40 years • A five-song live performance from Paddington Town Hall Sydney 3.4.1977 appearing on vinyl for the first time. • A full live performance from the Hope & Anchor Front Row Festival, London November 1977 appearing on vinyl for the first time • All three tracks from the 1977 This Perfect Day 12” single and all four tracks from the 1977 1-2-3-4 double 7” single • The previously unreleased 1976 demo mix of the full (I’m) Stranded album. In addition to all that vinyl (I’m) Stranded deluxe edition will also features a 28 page 12” x 12” photo essay of the band covering their origins from 1973 through the end of of ’77, authorised band history, an 8” x 10” 1976 promo photo and a (I’m) Stranded sticker.

2024 Repress

The newly remastered edition of the 1985 LP ‘Song of the Motherland’ by Shabaka’s father AnkAnu(formerly Anum Iyapo) will be reissued via Native Rebel Recordings. The album was remastered by Guy Davie at Electric Mastering, and has new cover art and design by Anum. The album will be available May 25th (African Liberation Day)

Info/Bio
Afrika Liberation Day (ALD) is observed on the 25th May. Events have historically been held on the weekend/bank holiday surrounding this date, which makes this coming weekend, ALD weekend.
The Album is a triumphant celebration of Afrikan-Caribbean verbal expression. The songs combine to haunting effect, the Rastafari Nyabinghi' drumming of Jamaican and continental Afrikan and Pan-Afrikan percussion and musical styles (even an Australian Aborigine Didgeridoo) with his folk-roots based Afrikan Jamaican vocal style.

The result is uniquely creative in construction and style, thought- provoking, entertaining and spiritual in content. The power of Anum I word and sound will paint mental imagery of red, gold, green and black.
Prepare yourself…

New pressing of Oiro Pena's debut. All compositions & instruments played by A.E. Vauhkonen Risoprinted cover art printed by Timo Vaittinen Spiritual flute jazz by the mastermind Antti Vauhkonen. Originally released as a 20 copy edition lathe-cut, now on 10" vinyl. ”Wow where did this come from??!? Raw and essential outsider jazz which will be whispered about for years to come…” -Matti Nives / We Jazz "Vauhkonen’s hands simultaneously summon up brass, flutes, keyboards, drums, stringed instruments and all sorts of percussion. The sound is firm and slightly cosmic, like early Sun Ra Arkestra at its heartiest. But that’s enough about the music, listen for yourself.” – Markus Karlqvist

Cover designed and silkscreen printed by Arsi Keva in Kalasataman Seripaja, Helsinki (Finland).
Recycled innersleeves linocut printed by Gilles Lostale in Saint-Pierre-des-Corps, France.

''The bass-clarinetist Ville Lahteenmäki's raucous, ruggedly braying style makes him a notable addition to the Dolphy-Murray-Mahall lineage that produces maximum excitement with every outpouring of notes. His accompanists, drummer Nicolas Leirtre and bassist Trym Saugstad Karlsen, are like himself, students at the renowned Trondheim Conservatory, an institution whose impact on European jazz has been significant in modern times.''
- Kevin Le Gendre / Jazzwise

''Lähteenmäki is indeed very distinctive and original in his music. Although in some of the quietest parts the thought of John Coltrane, for example, creeps into the back of my head, the voice is that of a young and skilled musician who knows the history of the genre well.''
-Arto Murtovaara / Kulttuuritoimitus

''Straight to the point, no fuss – and greedy tough!'' Jan Granlie / Salt Peanuts

Ltd Double Silver Vinyl, Monochrome edition artwork, DL card. Originally released in 1990, Royal Trux’s ‘Twin Infinitives’ is being re-issued in all its (yet to be translated) alien glory, by Fire Records. A dismantled overture that sprawls out over two records, an avant-garde masterpiece that was the spark for Drag City Records and generations of new sound seeking musicians. Hailed in the same immortal breath as Beefheart’s ‘Trout Mask Replica’, the Velvets’ at their frenzied peak and Ornette Coleman at his most avant-garde, the duo of Pussy Galore’s Neil "Michael" Hagerty and Jennifer Herrema recorded ‘Twin Infinitives’ while imbibing all kinds of mind-altering substances to create an inadvertent blueprint for what the duo was building with Moogs, guitars and melodicas to name a few ingredients. It is the legendary second album from the masters of the genre mashup - long before “genre mashups” even existed. Arguably, the term “mashup” was coined to describe what Trux, as they subconsciously scrolled through the radio stations of their lives. The album’s chaotic sound and offbeat construction laid the foundations for a string of Royal Trux albums that spiralled between genres, tunings, and noise. Through the 90s they would re-invent the rock ‘n’ roll ethic, straddle alien surf music, re-align boogie rock, not to mention 80s hair metal, and confound critics by their wildly meandering and courageous rites of passage. Remastered as part of a career spanning catalogue deal with Fire Records. The infamous and influential duo of Jennifer Herrema and Neil Hagerty will be delving into the archive with a comprehensive reissue series, unearthing the vaults and revisiting what made them such a compelling benchmark for their contemporaries and imitators. Reawakening their prolific output within a new monochrome vinyl series covering 1988-1993, they begin with their seminal deconstructed rock masterpiece Twin Infinitives. “Sounding like a subway ride inside a television inside an earthquake inside the end of the world and a pounding death rhythm of apocalyptic now.” Pitchfork. Track List: Disc One: A1 Solid Gold Tooth A2 Ice Cream A3 Jet Pet A4 RTX-USA A5 Kool Down Wheels B1 Chances Are The Comets In Our Future B2 Yin Jim Versus The Vomit Creature B3 Osiris Disc Two. C1 (Edge Of The) Ape Oven D1 Florida Avenue Theme D2 Lick My Boots D3 Glitterbust D4 Funky Son D5 Ratcreeps D6 New York Avenue Bridge

Zur Feier des 40-jährigen Jubiläums von DOKKENs zweitem Album TOOTH AND NAIL (1984) wird BMG eine limitierte 1LP-Version auf Blue Galaxy Vinyl mit Lenticular-Cover sowie eine limitierte CD mit Lenticular-Cover veröffentlichen. Mit den Hits „Alone Again“ und „Into The Fire“.

Dion Lunadon (THE D4, A PLACE TO BURY STRANGERS...) is a musician who writes, performs and records his own rock 'n' roll records. Born in New Zealand and residing in New York City he has a 4 piece band who TCB live. Raw, real and off the chain! The art on the jacket of the record is unique, as both the front and back side serve as the front cover, or back cover. Confused?! Snag a copy and untwist your brain!

(2018 Remix)

30. Juni 2022 – Im Januar 1977 veröffentlichten Pink Floyd ihr zehntes Studioalbum „Animals“. Das Werk eroberte Platz 1 der deutschen Charts, gilt als eines ihrer besten – und es wird nun, 45 Jahre später, als Deluxe Gatefold, CD, LP und Blu-ray wiederveröffentlicht. Zum ersten Mal überhaupt wird das Album in 5.1 Surround-Sound zu hören sein. Die einzelnen Versionen werden ab dem 16. September 2022 erhältlich sein, die Deluxe-Version folgt am 7. Oktober.

Pink Floyd – David Gilmour, Nick Mason, Roger Waters und Richard Wright – nahmen „Animals“ 1976 und Anfang 1977 in den bandeigenen Britannia Row Studios in London auf und produzierten auch selbst.

„Animals 2018 Remix“ wird als CD, LP (mit Klapphüllen-Artwork), Blu-Ray und als Deluxe-Gatefold-Format veröffentlicht. Die Deluxe-Gatefold-Version beinhaltet eine LP, CD, Audio-Blu-Ray, Audio-DVD und ein 32-seitiges Booklet. Die Audio-Blu-Ray und -DVD enthalten den Remix von 2018 in Stereo, in 5.1 Surround (beide von James Guthrie) und den ursprünglichen Stereo-Mix von 1977. Das 32-seitige Booklet gewährt mit selten gezeigten Fotos einen Blick hinter die Kulissen des Shootings für die Plattenhülle sowie Live-Bilder und Memorabilia. Das Album-Artwork wurde für diese Veröffentlichung mit einem zeitgemäßen Motiv neu interpretiert.

„Animals“ ist ein Konzeptalbum, das sich kritisch mit den sozialpolitischen Verhältnissen im Großbritannien der mittleren 1970er-Jahre auseinandersetzt und damit eine Abkehr vom Stil der früheren Arbeiten der Band markierte. Aus einer Ansammlung ursprünglich nicht miteinander zusammenhängender Songs entwickelten Pink Floyd ein Konzept, das den offenkundigen sozialen und moralischen Verfall der Gesellschaft beschreibt. Inspiriert von George Orwells „Farm der Tiere“, verbildlichen sie die menschliche Natur mit einer Analogie zum Tierreich und teilen die Menschen in drei Klassen von Tieren ein: Die Schweine stehen an der Spitze der sozialen Kette, die Schafe tun als hirnlose Herde, was man ihnen sagt, und die Hunde sind die Geschäftsbosse, die sich am Profit und ihrer Macht über andere schamlos bereichern. Seit 1977 ist viel Zeit vergangen – und dann wieder gar nicht, denn die Erzählung des Albums hat als Kommentar auf unsere gesellschaftliche und wirtschaftliche Situation nichts von ihrer Aktualität verloren.

Das berühmte Cover von „Animals“ zeigt ein aufblasbares Schwein (heute bekannt als Algie), das in luftigen Höhen zwischen zwei Schornsteinen der Battersea Power Station in London schwebt. Die Idee für das Cover kam von Roger Waters, die Umsetzung übernahm der langjährigen Kreativpartner der Band, Storm Thorgerson von Hipgnosis Studios. Für die jetzige Neuveröffentlichung wurde das Artwork von Storms Hipgnosis-Partner Aubrey „Po“ Powell für die heutige Zeit neu gestaltet. Basierend auf neuen Aufnahmen des Gebäudes während der jüngsten Umgestaltungsarbeiten (das ehemalige Kraftwerk wird für die kulturelle und gewerbliche Nutzung umgebaut, gestaltet von Frank Gehry und Norman Foster), experimentierte Po mit neuen Blickwinkeln und erschuf einige beeindruckende neue Varianten des berühmten Originals. Po dazu: „Das Original-Albumcover von 1977 ist ikonisch und steht so sehr für sich, dass ich eine Menge Respekt davor hatte, ihm ein Update zu verpassen. Doch Hipgnosis nahm die Gelegenheit zum Anlass, das Motiv neu zu fotografieren und damit eine sich verändernde Welt widerzuspiegeln. Durch den Einsatz moderner digitaler Färbetechniken konnte ich Pink Floyds düstere Botschaft des moralischen Verfalls beibehalten, und auch die Orwellsche Tier-Analogie in Form des Schweins Algie lebt in dem neuen Artwork fort.“

Pink Floyds „Animals 2018 Remix” kann ab jetzt hier vorbestellt werden.

To launch Mr Bongo’s new Cuban Classic Series, we are thrilled to present this sought-after, psychedelic-funk masterpiece. A fusion of traditional Latin and Afro-Cuban rhythms meets disco, jazz, and funk, with hints of 70s soundtrack productions, this much-loved cult album featuring nine predominantly instrumental tracks is a real treasure that deserves a much wider appreciation. One look at the trippy artwork and you know it is going to be special.

Originally released in 1977 on Areito Records, a sub-label of the state-owned label Egrem, it has become one of the rarest (even in Cuba) and most in-demand albums to come from the label. It is the sole album from Grupo Los Yoyi and was composed, orchestrated, and produced by the mysterious, Jorge Soler Leó.

After Castro ring-fenced Cuba with an embargo on, among other things, Western music, the ‘Yoyi’ album had a sound more left of centre than what was normally allowed to be recorded there at the time. It subtly and covertly flirts with disco, jazz-funk, and electronic sounds coming from the US and Europe. It is probably best known for the space funk, bubbly club cut 'Paco La Calle’. A track that was edited in 2008 by the fantastic DJ / producer, Nick the Record, and one that is guaranteed to set a discerning dancefloor alight. However, ‘Yoyi’ is far from a one-track album. Other highlights include, 'Banana’, with its call and response trombone and horn section, squelchy keys, pulsating breaks and percussion, and a loose, floating vocal arrangement. 'Tu No Me Puedes Conquistar' is a beautiful, bouncing plodder with a variety of instruments interchanging as the track progresses. 'Ruta 30' takes things in a straighter Latin direction, which we are accustomed to from Cuba at that time, yet it is still full of personality, treats and vigour. Take our word for it, this album is strong throughout.

This is one of our favourites and most beloved albums to come out of Cuba and is the perfect flagship for our Cuban Classics Series. Look out for plenty more to come real soon.

A new piece by minimalist / experimental composer PHILL NIBLOCK (1933 - 2024), co-composed and performed by ANNA CLEMENTI & THOMAS STERN. Intense, menacing layers of thick drones and alien sounds.

In summer 2022, within just a few weeks and by pure coincidence, 2 proposals regarding PHILL NIBLOCK albums arrived: one suggesting an overdue vinyl reissue of a CD release (more on that when the time has come for it), the other email was from ANNA CLEMENTI saying she and THOMAS STERN were working on new pieces that PHILL NIBLOCK has written for her … when "Zound Delta 2" was complete, PHILL sent photographs for the two artworks, we met twice to discuss details, but unfortunately he died unexpectedly early january this year so the album now is, sad as it is, a posthumous release … an intense goodbye from one of 20thcentury most iconic composers.

Phill Niblock

Phill Niblock (1933-2024, USA) was an artist whose fifty-year career spans minimalist and experimental music, film and photography. Since 1985, he has served as director of Experimental Intermedia, a foundation for avant-garde music based in New York with a branch in Ghent, and curator of the foundation's record label XI. Known for his thick, loud drones of music, Niblock's signature sound is filled with microtones of instrumental timbres that generate many other tones in the performance space. In 2013, his diverse artistic career was the subject of a retrospective realised in partnership between Circuit (Contemporary Art Centre Lausanne) and Musée de l'Elysée. The following year Niblock was honoured with the prestigious Foundation for Contemporary Arts John Cage Award.

Anna Clementi

Italian-Swedish singer Anna Clementi grew up in Rome, where she first studied the flute and completed acting training before moving to Berlin and studying experimental vocal music and experimental music theater with the composer Dieter Schnebel at Hochschule der Künste (now UdK Berlin). Anna Clementi sees herself as an "actress of the voice" rather than exclusively as a singer. In this way she also articulates the diversity of her artistic expression, with which she is always searching for new connections between voice, gesture, language, dance and theater.

During her decades spanning career, Anna Clementi has performed at the most important festivals, has premiered numerous works, many of which have been composed especially for her, and worked with Fast Forward, Michael Hirsch, Rupert Huber, Christian Kesten, Alexander Kolkowski, Olga Neuwirth, Josef Anton Riedl, Iris ter Schiphorst, Dieter Schnebel, Laurie Schwartz, Elliott Sharp, and many others.

A special focus of hers is the work of John Cage, whose pieces she has performed worldwide.

Thomas Stern

Born in Bremen, Thomas Stern moved to Berlin in 1984 where he joined Mona Mur with Alex Hacke and F. M. Einheit (both from Einstürzende Neubauten, with which Stern also worked as live sound engineer for many years). Around 1987 he co-founded the Berlin set up of Crime And The City Solution (Mick Harvey, Alex Hacke a.o.). Over the years, he has has collaborated with artists like Ulrike Haage, Phew, Nick Cave, Ton Steine Scherben, Meret Becker, Nina Hagen, Jaki Liebezeit, Ben Becker, N.U. Unruh, Gry, Iris ter Schiphorst, Automat, Swans, Hans Joacxhim Irmler and many more, on the road or in his own Sternstaubstudio.
credits:

Anna Clementi: voice

Thomas Stern: slide guitar, bass and soundprocessing

Composition by Phill Niblock, Anna Clementi and Thomas Stern

Recorded and mixed by Thomas Stern at Sternstaubstudio, Berlin

Mastering and lacquer cut: Kassian Troyer at D&M, Berlin

Cover photography by Phill Niblock

Layout and design by kaidoh

This record is the first complete collaboration between Lefteris Volanis and Dimitris Pagidas who along with Vasilis Dokakis have formed the trio No Clear Mind over the past 15 years.

“Outside the long walls” is a musical creation whose canvas is filled primarily with a mix of electronic and guitar, organic synthesizer sound, saxophone, electric pianos bound together with drums and percussion, xylophone along with intervening soundscapes. There is a deeply melodic work with a strict sonic and timbre aesthetics that reference the new wave and post-punk outsiders, folk, progressive, space rock and world music for the past decade interspersed with tributes to the soundtracks of the 60s and 70s European cinema.

The band use both Greek and English lyrics interchangeably since the vocals are simply a means of achieving aural magic.

Recorded in Epidaurus between March 2020 until September 2023
Mastered by Richard König
Vinyl Master by Ekelon
Cover photo by Eftichia Vlachou
Artwork by Giorgos Maraziotis

From Cape Town to Cairo, and now to fans, stages and screens around the world, PJ Morton shares his newest album, fully made in the motherland. Cape Town to Cairo is a collection of songs that he created in 30 days throughout 4 countries in Africa — South Africa, Nigeria, Ghana and Egypt. Described as the best trip of his life, this transformative journey began as just the seed of an idea last fall, but instantly grew into his most sonically-sprawling and immediately-inspired record to date. With no music, lyrics or preconceptions, he stepped foot onto the continent with two thoughts: a wild dream to write and record his next LP in less than a month, and a mission to immerse himself in as many different cultures, stories and communities as he could.

Surrounded by featured collaborators like Fireboy DML, Mádé Kuti, Asa, Ndabo Zulu, and Soweto Spiritual Singers, as well as additional producers including P.Priime and The Cavemen., his own live band and local musicians, PJ Morton used music as his common language. Always his greatest way of communicating, he expressed his feelings and experiences of Africa through songs he and others were forming together on the spot, side-by-side in different studios, cities and towns for the very first time. None of the tracks were written before he arrived or after he left, and the arrangements showcase both the countries’ native genres as well as the innate, stylistic instincts that have made Morton a 5x GRAMMY-winner and 20x GRAMMY-nominee, whether it be his soul, R&B and gospel roots, or the pop prowess he has further honed as a member of Maroon 5.

“When you’ve been in music as long as I have, you’re constantly looking for inspiration,” says PJ Morton. “And you’re looking for the things that made you want to do it in the first place. I’ve made albums every type of way you can think, so I wanted to try something I hadn’t done before. As a Black American who had never been to South or West Africa, I knew there was something there waiting for me. So I put a little pressure on myself to make a full record in a month, but I also said, ‘If I’m gonna go to Africa, I want to see Africa.’ We made music, but we also formed connections. We made new friends, and this is just the start.”

ESSENCE adds, "This trip is not just a physical move, it's a spiritual return…The soul of Africa pulses through every note he plays and every word he sings,” and VIBE adds that “the multi-faceted artist is fully embracing a new phase in his life.” Cape Town to Cairo marks PJ Morton’s first album since 2022’s Watch The Sun, which featured collaborations with Stevie Wonder, Nas, JoJo, Wale, Jill Scott, Alex Isley and more. Since then, Morton has become the first Black composer to write an original song for a Disney attraction, having just finished making the music for Tiana's Bayou Adventure, opening on June 28th, 2024 at Disney World and Fall 2024 at Disneyland. He also won his latest GRAMMY earlier this year, worked with Samara Joy on “Why I’m Here” for Regina King’s Netflix film Shirley, and landed a cover of his song “Don’t Let Go” as the soundtrack to Apple’s iPhone 15 commercial.

PJ Morton recently returned from headlining his debut shows in Asia, New Zealand and Australia, and announced an extensive Cape Town to Cairo Tour for North America summer and fall 2024. Following iconic performances at New Orleans Jazz Fest, The Kennedy Center, Roots Picnic and Newport Jazz Fest, Morton will embark on a run of more than 25 dates across the country, including New York City’s Beacon Theatre, Chicago’s Chicago Theatre, Nashville’s Ryman Auditorium, Los Angeles’ The Wiltern, and dozens of others.

On the heels of his headline tour and Maroon 5’s Las Vegas residency, PJ Morton will publish a life-spanning new book titled Saturday Night, Sunday Morning. The memoir sees him recounting and reflecting upon a trailblazing path that continues to defy expectations and straddle the tensions of music and faith, race and culture, expression and identity. As the son of two pastors and gospel artists, Morton grew up grounded by the sound of the Church, but soon found himself drawn to R&B, pop and soul, writing songs that the industry, his family and community struggled to understand. In the face of mounting pressure, rejection and constant miscategorization, he committed himself to a steadfast path of independence: making music on his own terms, launching his own record label, joining one of the biggest bands in the world while staying true to his New Orleans roots. The risks he took paid off, and through his transformation from preacher's kid to the busiest man in showbiz – performing everywhere from his local congregation to the Super Bowl, collaborating with everyone from his father to Stevie Wonder, Erykah Badu, Jon Batiste and Lil Wayne – he hopes to encourage readers and listeners to overcome obstacles as they seek their dreams.

"Die Band RIPPED TO SHREDS aus San Jose ist ein aufstrebender Star in der Metalwelt, dank ihrer wilden, elektrischen Interpretation des Death Metal,
die größtenteils von ihren Erfahrungen als asiatisch-amerikanische Musiker inspiriert ist." - Stereogum
RIPPED TO SHREDS melden sich mit ihrem mit Spannung erwarteten neuen Album "Sanshi" zurück. Die Band explodiert aus dem Untergrund mit all
den blutgetränkten Merkmalen des höllischen RIPPED TO SHREDS-Sounds - ein Ansturm von frenetischen Duell-Soli, krachenden Drums und van
Drunen-eskem Gesang, der den Dreck und Schmutz von Death Metal und Grind der alten Schule mit dem Hier und Jetzt verschmilzt. Unter der Leitung
von Gitarrist und Frontmann Andrew Lee sind RIPPED TO SHREDS so kämpferisch und konzentriert wie eh und je.
Auf Sanshi beschäftigt sich die Band mit einer morbiden Fixierung auf den Tod und das Leben nach dem Tod im Kontext der traditionellen
chinesischen Folklore.
Das Cover von Sanshi stammt von Lees langjährigem Mitarbeiter, dem Künstler Guang Yang, und zeigt eine Szene mit Yan Luo Wang, dem Gott der
Hölle, und den Toten, die sich seinem Urteil in seinem dämonischen Gericht stellen müssen

Two seminal 12" mixes of a pair of enormous tracks from Surface. Housed in the super-rare and - until now - French-only picture sleeve of the eternal "Falling In Love", we've backed that classic with Be With's favourite deconstructed mix of the swirling electronic soul / synth-driven slow jam "Happy". These sought-after versions have never been paired on the same record before. This fresh Be With edition ensures these legendary tracks now sound, looks and feel as sensational as they deserve to. You know what to do...

American post-disco/R&B trio Surface were a New Jersey vocal group made up of Bernard Jackson, David Townsend and David Conley. The majesty of boogie ballad "Falling In Love" was their first single, released in 1983 on Salsoul Records. The mellow magic of this track is loved the world over; it's a feel-good smooth boogie jam that's forever coveted. The slick, crystal clear beat, the legendary minimoog bassline, the melody, Karen Copeland's superb vocal, the great flute solo (referenced on the cover) all of it is literally perfect and beautifully encapsulates that mid 80s international club vibe. This here is the original Shep Pettibone mix in its entirety - it's the only one you really need.

Flip for the legendary "Love Mix" of 1987 hit single “Happy". You all know the original. At least, you *should* all know it. But the "Love Mix" is a deconstructed, boldly produced mix which is the one the heads have turned to for so long. Yet, in our opinion, its hypnotic groove has flown under the radar for too many years. This killer remix begins with Jackson's spine-tingling isolated vocal, cleverly subverting expectations by actually delivering the first words of the original's second verse "You must be Heaven sent...Sent into my life...And I compliment you baby...Baby" before a heavy 808 drum kicks hard with echoey handclaps. It's super sparse and a dubbed out slow-mo boogie banger like no other. The synth bass, atmospheric synth pads and synthesized flute glide in and out with effortless style and the whole thing is a wonder to behold.

It's a slow jam, for sure, but crafted in the straight up funk tradition, using the digital tools of the day and this sparser than sparse version almost sounds like a precursor to UK Street Soul. A unique combination of undeniable funk, electro beats and an earnest, youthful tenor; it should be slamming out of every jeep forevermore.

Simon Francis remastered the original audio for both tracks and Cicely Balston's precise cut for Alchemy at AIR Studios ensures this 12" well and truly slaps. The immaculate Record Industry pressing will ensure this incredibly sought-after treasure finds a home in many more collections, this and every year. Simply flawless.

'Baby’ – cross it off your Wants List at last. Written by Caetano
Veloso, arranged by Arthur Verocai, covering Gal Costa. An
absolutely killer Brazilia modern soul jam – a rarity in Brazil
that we hammer in DJ sets and have been wanting to release for a
while. Taken from the Quinteto Ternura self-titled LP from 1974.

‘Filhos De Zambi’ is uptempo samba-funk of the highest order, and now very difficult to find at a decent price in it’s original RCA ’compacto’ format. Percussion high on the mix, hands claps and a brilliant harmonised chorus line.

Sun-scorched riff-rock propelled from the windswept heart of the desert! Blue Heron expand on their unyielding desert sound with a new slab of propulsive, sun-scorched riff-heaviness. Everything Fades finds the band reveling in low-tuned roil and amplifier hum, churning out swerving grooves as if the atavistic, primordial spirit of the desert itself compels them. Balanced between laid back, meditative atmospherics and heavier, more aggressive lunges, these cruising jams and gritty stoner romps call to mind echoes of Kyuss, Clutch and Soundgarden, along with modern contemporaries like Valley of the Sun and High Desert Queen. Full of rhythmic intensity, sledgehammer riffing, and vocals ranging from clean and moody to howling and raw, Blue Heron cover a wide expanse of musical ground that shows how familiar influences can still be molded into inventive, exciting new forms. New album of grooving, raw desert rock for fans of Kyuss, Valley of the Sun, Clutch and High Desert Queen Presed on sleek blue vinyl, available as Digipak-CD, too.

Sun-scorched riff-rock propelled from the windswept heart of the desert! Blue Heron expand on their unyielding desert sound with a new slab of propulsive, sun-scorched riff-heaviness. Everything Fades finds the band reveling in low-tuned roil and amplifier hum, churning out swerving grooves as if the atavistic, primordial spirit of the desert itself compels them. Balanced between laid back, meditative atmospherics and heavier, more aggressive lunges, these cruising jams and gritty stoner romps call to mind echoes of Kyuss, Clutch and Soundgarden, along with modern contemporaries like Valley of the Sun and High Desert Queen. Full of rhythmic intensity, sledgehammer riffing, and vocals ranging from clean and moody to howling and raw, Blue Heron cover a wide expanse of musical ground that shows how familiar influences can still be molded into inventive, exciting new forms. New album of grooving, raw desert rock for fans of Kyuss, Valley of the Sun, Clutch and High Desert Queen Presed on sleek blue vinyl, available as Digipak-CD, too.

Brand new remastered version of PENTAGRAM legendary album Review Your Choices in new coloured vinyl and with a brand new cover desgined by Mirkow Gastow. PENTAGRAM's fourth studio album "Review Your Choices" marked the band's sixth comeback after several changes of line-up and label. These acclaimed protagonists of Doom Metal proved once more indestructible by drug addiction, break ups, bad deals, jail terms, chronic illness, satanic blood sacrifices and various acts of self destruction. Main-man and singer Bobby Liebling has kept his band alive for over 35 years now and might easily be awarded the title of "longest serving cult band" - highly acclaimed by fans, press and fellow musicians alike. "Review Your Choices" marked the return of multi-instrumentalist Joe Hasselvander to join Bobby Liebling in his eternal quest of creating the heaviest sound possible. The album features a mix of re-recorded lost Liebling tracks from the 70's and stellar new numbers penned by Hasselvander, which gave "Review Your Choices" an extra heavy feeling. PENTAGRAM once again set a standard to be followed by such illustrious followers as Cathedral, Spirit Caravan, Goatsnake, St. Vitus, Trouble or High On Fire among many others. Dive down deep into gloom and despair with this classic Doom recording.

Neon Green Vinyl, limited to 400 copies. Brand new remastered version of PENTAGRAM legendary album Review Your Choices in new coloured vinyl and with a brand new cover desgined by Mirkow Gastow. PENTAGRAM's fourth studio album "Review Your Choices" marked the band's sixth comeback after several changes of line-up and label. These acclaimed protagonists of Doom Metal proved once more indestructible by drug addiction, break ups, bad deals, jail terms, chronic illness, satanic blood sacrifices and various acts of self destruction. Main-man and singer Bobby Liebling has kept his band alive for over 35 years now and might easily be awarded the title of "longest serving cult band" - highly acclaimed by fans, press and fellow musicians alike. "Review Your Choices" marked the return of multi-instrumentalist Joe Hasselvander to join Bobby Liebling in his eternal quest of creating the heaviest sound possible. The album features a mix of re-recorded lost Liebling tracks from the 70's and stellar new numbers penned by Hasselvander, which gave "Review Your Choices" an extra heavy feeling. PENTAGRAM once again set a standard to be followed by such illustrious followers as Cathedral, Spirit Caravan, Goatsnake, St. Vitus, Trouble or High On Fire among many others. Dive down deep into gloom and despair with this classic Doom recording.

Brand new remastered version of PENTAGRAM legendary album Sub-Basement in new coloured vinyl and with a brand new cover designed by Solo Macello. Doom is made out of 666 tons heavy riffing, vocals filled with pain, regret and spite as well as leaden song-structures stretched taut to the point of ripping. PENTAGRAM embody all those virtues like no other contender in this oldest of all genres of Metal being founded by none other than Black Sabbath. Many have named PENTAGRAM the true heirs of those originators of Heavy Metal and honourably dubbed them 'the American Black Sabbath'. In this sixth incarnation of the band, Doom lord Bobby Liebling had reunited with drummer Joe Hasselvander, who had already been a member of PENTAGRAM twice before. Hasselvander played all the instruments, while Liebling added his matchless vocals. "Sub-Basement" was the second output of this line-up and is regarded as the most Rock N' Roll effort of the doomsters ever. On top of PENTAGRAM's perfect Doom sound an irresistible groove and capturing catchiness was added, which made the album an all time favourite for many fans. "Sub-Basement" will kick your ass and twist your legs.